Arthur of the Britons

At the Compton Inn, we found cameraman Roger Pearce waiting for us. He and Oliver stood reminiscing for a while.



Jelly took some video. Roger mentioned that Jack Watson was the son of Vaudeville comedian, “Nosmo King”, and described how the comedian got his stage name.

Oliver remembered that Jack was in the army, and was a hard man.

Transcribed:

OT: I’ve just remembered that he [Jack Watson] didn’t get on very well with riding, so he had to put a cushion down the back of his trousers. He always said, ‘Go slow! Go slow!’ and we always shot him pulling up or riding off, and nothing in the middle – he preferred not to gallop off or canter off.

RP: I remember we had a director called Peter Sasdy, and the stuntman was Peter something.

OT: Brayham.

RP: With big pebble glass glasses [Peter Brayham], and we were doing a stunt where these guys were jumping out of a tree onto you guys … I think – and he kept building up and building up these boxes and boxes, and then he [Peter Sasdy] said, ‘Peter, can I have a word with you?’ He [Peter Brayham] said, ‘Yes, what?’ He said, ‘Are they jumping down, or stepping down?’ It made us laugh.”

Then we all found tables for lunch – mostly outside, as the weather was still fine.





Roger and Oliver sat together chatting, and Roger put Oliver back in touch with Maria Bisset (née Ford) who managed the horses and carriages back in the day, and who provided Oliver some accommodation following his injury and recovery.



I was told later, that some of the other customers who saw us wearing "Arthur of the Britons" 50th anniversary tee-shirts had thought we were commemorating a friend of ours who had died, named "Arthur"!

We checked maps, and then Tim took Mark on the back of his bike, to go to the village site. We followed on in cars. Oliver’s was in the lead this time, and I was a bit uncertain how far it was. We passed two houses, and I thought we’d gone too far, and had to stop to check with people in cars behind. Still, we got there in the end – it was further than I remembered – and parked on the side of the road.

When we got out, we found Mark there (Tim had left), and Oliver immediately recognised the area where his, Michael Gothard’s and Jack Watson’s caravans (actual caravans, not trailers!) had been, near the field entrance.



Looking out over the valley:
OT: All that background, and you don’t see any houses …



We walked down the hill to the field where the village had been situated, and I pointed out the ditch which had run through the village – which Oliver remembered.



Jelly took videos. Oliver spoke about the extras:

OT: … and they’d go berserk. One or two had to be - “Stop! Stop!” - but they’d carry on as if they’d lost their mind. It’s true. It’s pretty spectacular. One of them went completely berserk. Three people had to jump on him, hold him down. He lost it! He got, you know, the red mist yeah, one of the extras. With a spear. He wouldn’t stop! He wanted to murder it you know … ‘cause they were amateurs, they weren’t actors. But they all looked the part, they looked … and it’s good money, seven pounds fifty in those days, you know? That was good money. I think, when I was a drama student, I was given ten pounds a week to live on. And, er … people who were on grants were on … yeah, seven pounds fifty people … my drama school, yes, lived on seven pounds fifty a week, back in ’65 you could live on that. But then, you can get a beer and meat and two veg. in a pub for about half a crown. You’re all too young to remember that!

We had a look over the river, at the place where Oliver would have met with Cerdig.





Below: Oliver and Wendy. They had met once before, when she had visited her adopted brother, Michael Gothard, on location in 1972.



We walked further along the river bank, and through a private garden to reach the bridge.



Once on the other side, we went through a stable yard, and past a feisty-looking but very small pony, who stood watching us; Oliver observed that she was pregnant.



Then we got to the weir (for an old brass mill) which was known in the series as “The Giant’s Dam.” It featured in "In Common Cause."



Since our last visit, a platform had been erected in the middle of the dam, so we were able get different views of the area.



Roger Pearce remembered that to the left of the weir is a culvert, which features in the scene "The Pupil", in which Arthur kills Corin's father, Mordor, while Corin watches.





There was a big empty picture frame hanging in front of the platform, which had clearly been put there for wedding photos.



We spent quite a while sitting around here, and taking photos.



Below: Oliver and Jelly.



I commented that the weir looked quite small, compared to how it looked in the series. Oliver said that the dam would have been made to look much bigger by the use of low camera angles. He confirmed that it was a stuntman who jumped into the water during “In Common Cause”, because Michael didn’t like heights.

I told him about how Michael had been made to stand on the edge of a tall building with no safety equipment, by director Don Levy, when he starred in “Herostratus.” Oliver said “maybe they tricked it” (meaning, maybe he wasn’t really on the edge), but I said no, and that Don Levy was a bastard, but that it was due to this production that Michael had met Wendy’s dad.

We re-traced our steps, and as we went back past the pony, the owner of the farm, Melissa Warren, came to greet us. She reminded Oliver that in the episode of “Robin of Sherwood” in which he appeared, he leapt on the back of a horse ridden by a stunt double for Maid Marian – and she had been that stunt double!





Oliver’s character’s intent had been to make off with her. She said she was 18, and she had been terrified! She hadn’t been a proper stunt rider!



We took her photo, and thanked her for letting us see the weir. She said it had been used for her daughter’s wedding, and the photographer had suggested they might hire out the venue, but she’d decided it should just stay a private family place, where the kids and grand-kids could play.



Then we all returned to Wookey Hole Hotel, though a convoy was no longer needed.

In the car, Oliver said that the location scouts had done a really good job, finding this area, which had so much potential. I suggested that they found one – the area where “The Challenge” was filmed - and then discovered the others as a result.

Oliver mentioned that he’d met the actor Ken Hutchison who played Gawain later on in his career, and Ken had been depressed because he said “no one wants to hire me.” Oliver couldn’t understand it, as he considered Ken a fine actor.

He mentioned at some point, [1981/1982] that he’d been considered for/considering taking over the role of James Bond from Roger Moore. He said the Broccolis were really nice – he liked them – but he decided he didn’t want everything that went along with the role – the fact that he’d be associated with Bond forever, as happened to Connery and Moore, and has since happened to Daniel Craig – and with the whole circus that goes along with the franchise.

He has realised that acting can be soul-destroying, because you often spend days, weeks, months, living in hotels, and just waiting to deliver a few lines, while your life is passing you by. He has an agent who keeps trying to get him work, but he keeps rejecting it!



When we arrived back, we broke for a rest.

I arrived at the building where Sean works for our 3 o’clock meeting, and he came down to meet me. On the way up to his office, he asked why I was so into “Arthur of the Britons”: was it Oliver? I said, no it was Michael. “Even then?” he said. Perhaps he thought a teenager would be more likely to fall for Oliver, though he did think that Michael was a very attractive man.

By way of background, Sean said that in the early 1970s, the smaller TV companies like HTV weren’t expected to do drama, especially on this scale, but Sean’s father, Patrick Dromgoole, decided that they should start. They had two crews, which produced a lot of great drama over the next 20 years, including "Children of the Stones" and “Robin of Sherwood.” “Arthur of the Britons” - along with “Pretenders” [a costume drama set in 1685, about two children during a rebellion against King James II] - was the start of this in many ways.

The story of Arthur, and the conflict between the Celts of Wales and Cornwall, and the Saxons in Wessex, was a natural choice for Harlech TV, which was based in the middle of those territories.

As we settled down to watch “The Gift of Life” together, Sean proved himself a man after my own heart by expressing approval for the 4:3 aspect ratio! He also said he loved Elmer Bernstein’s epic theme music.

Every now and then, as we watched the episode, he would press ‘pause’, and tell me something he remembered about what had just transpired.

The first thing he commented on was the horse Michael was riding. He said that either Michael wasn’t a natural rider, or the horses he’d been given weren’t up to the task, because he had been through about 3 horses without finding one that suited him. After some weeks, the horse wrangler, Ben Ford of Stroud, brought in a new bay horse, and named it Merlin because “if this works it will be a miracle.”



So Merlin was not the horse shown here - which Michael rode for the first few episodes.

As Krist and Elka stick their heads up on the boat, Sean drew his colleague’s attention to his first appearance: “I’m in show business!”



He then pointed out that much of the conversation between Arthur and Kai about what to do with the Saxon children – nearly a whole minute – was filmed in one take.

Then when Kai is getting ready to leave the village with the children, he drew my attention to a great shot of Michael.



He said there would have been huge polystyrene reflectors just out of shot, directing bright lights at Michael’s face; he would have been bravely keeping his eyes wide open to avoid squinting.

The riding scenes were filmed near Woodchester. Sean could ride already, as his mother had been very keen that he and his siblings should learn. It was alright for Tamzin riding in front of Michael, but very uncomfortable for him, riding at the back, where there was no saddle. Bumping along when they were cantering was agony!



The conversation between Krist and Kai about the scar on Kai’s neck would have been filmed by a tracking camera mounted on a vehicle, driven alongside the horse.

I mentioned how tall the bracken was, in the scene where Krist and Elka go missing. Sean said the problem was, trying to make sure the crew didn’t trample it all down!



When Kai was calling for the children, Sean said, “I did find Michael slightly scary – there was a threat about him. He was tall, distant, and rather magnificent.” He was also “moody” but Sean also recalled that he was “very kind, very patient.” He and Tamzin often screwed up a shot by, for example, looking straight into camera, but Michael understood that they were just learning. “In dealing with me and Tamzin, he was brilliant.”

When Kai teaches the children the secret whistle, Sean admitted that he couldn’t do it; that was the only part of the sound that wasn’t recorded live on location, but looped in a sound studio. The sound recordist, Mike Davey, a close friend of Sean’s, is deaf in one ear!

During the next scene where they were riding, Sean pointed out the vehicle tracks where the horse was trotting. I protested that they were cart tracks, but he said carts didn’t make tracks like that!

Where the children are sleeping, he said he remembered the feel of the sheepskin against his cheek.

I commented on Kai’s furry boot-covers, and Sean revealed that they were a lot of trouble, as they were always coming off.

As they walk into the Saxon village, Sean said that Heather Wright, who played Hildred, was a lovely girl. He commented once again on the wonderful cadence of the theme music.



He wondered what was the point of “putting fur on a guitar” (the minstrel’s lute).

In the scene where Kai is sitting in the hut, tied up, Sean pointed out that the wattle and daub panels, from which the walls were made, were actually moulded plastic! They had one real panel, and poured plastic onto it, then peeled it off, painted it, and poured some more on. They looked terrible in real life.



He thought Stephan Chase was a good actor; “You need to know who your villain is.”



When Kai springs out of the bracken to break the Saxon villager’s neck, Sean said he would have had his face smeared with Vaseline, to make it look as if he were sweating. By the time they filmed these scenes, they were losing the light.



Sean remembers being fascinated watching Peter Brayham organising the stunts, and by just how simple they were, up close. When Horgren surprises Kai, near his horse, it was Peter who buried the axe in the tree trunk, not Stephan Chase.



He remembers feeling the sticky “Kensington Gore” (theatrical fake blood) on his face after Kai palms his cheek as he rides away.

During the scene where Kai is lying on his sickbed, we speculated on where Arthur would have obtained the huge bunch of grapes Kai has in front of him. Sean suspects the cameraman was referencing Carravagio’s “Boy with a Basket of Fruit.”



The fire would have been made using a gas tube under some stone that had been painted to look like logs.

After the credits had rolled, Sean asked whether I had any other questions. I started by asking how he got the job!

He had acted before, in school plays and the like, but never in front of a camera. As soon as word got out about a new production, people in the business would be looking out for roles for their children. There was an audition: five boys and five girls, and a lot of those auditioning, like the Nevilles, were family friends.

The episode Director, Pat Jackson – a lovely man - must have auditioned them, but as the audition was held in Patrick Dromgoole’s office, Sean, and his younger brother Dominic and sister Jessica, were at something of an advantage. Sean himself was credited as “Sean Fleming” – his mother’s maiden name – because they didn’t want to give away the fact that he was in his dad’s production!

Sean got the part of Krist, partly because he was blond, which made him a better fit as a Saxon boy than his brother, Dominic whose hair was dark. Dominic got the part of Col’s son Frith, in “The Slaves.” He didn’t like the fact that at the end of the episode, he had to be lifted – almost thrown – high in the air by Dave Prowse. Jessica appeared in another episode as an extra.



Sean took it very seriously; he remembers rehearsing at the kitchen table with his mother. “I was the little pro – turned up with all my lines learnt!”

Being one of the youngest cast members was, “terrific! Everyone spoiled me.” People fell over themselves to look after them, especially the make-up lady, Christine Penwarden, on whom he had a crush. She used to show them how to make fake scars with Bostick, and shock their families.

When they went for the costume fittings, they were fascinated by the axes with rubber heads, used during the actual fight scenes. Saying, “This is a real one”, Oliver picked up an axe, took a swing at one of the posts in the Saxon village, struck into it, and also hit one of the female crew members - possibly the costume lady, Audrey MacLeod - on the head! She was okay though.

There were very small crews in those days – 30 or so – so everyone was racing about the whole time, but because of people like the cameraman, Bob Edwards and the director, Pat Jackson, the atmosphere was relaxed and very friendly; there seemed to be plenty of time. “It was great fun – a real confidence-booster. They made it so easy.”

Nevertheless, not being a ‘morning person’, Sean was “beguiled” by how early in the morning they started work (dawn). They only shot 3 and a half to four minutes’ worth of film each day, unlike these days, when 8 minutes is the norm. It took about a week to film each episode.

When asked how much direction he was given, Sean said, “Not enough, watching it! I think the idea was to keep us as relaxed as possible – not do take after take, which would have been intimidating for a child.” He thought he could have given a better performance. It was hard to know how much direction any of the adult cast received, because a good director would speak to the actors privately.

He didn’t see the rushes. There would be a lab. report the next morning, and the rushes would be seen the following night. Some directors invited the actors; the more experienced ones didn’t, because they didn’t want them to be distracted by thinking about what they’d done before.

Sean thinks he was paid for the performance, but has no idea what happened to the money; it didn’t end up in his pocket! He was present for the filming of some other episodes but didn’t appear as an extra, which was boring: not like being the centre of attention!

It rained, half the time, and the cast and crew would either stand under tarpaulins, film indoors, or just got on with it, pretending it wasn’t there.

Tony Shaffer – the writer of “Sleuth” - suggested that John Hurt should play Arthur; the series would have been “different”. But Patrick cast Oliver Tobias, who they already knew really well. Oliver used to bring his Haflinger 4 x 4 to their parents’ place, and drive them up an almost vertical hillside, making them all scream!

Oliver was hugely popular, “an utter delight.” He maintained friendships with all levels of the crew, to the extent that, years later, when he played the villain, Bertrand de Nivelle, in the “Robin of Sherwood” episode, “Lord of the Trees”, and had to fight Michael Praed, who played Robin, the crew were all cheering for Oliver: “Come on – give him what for!”



When the episode was broadcast, on 13 December 1972, Sean’s whole cub scout troop – all in their uniforms – came to their house in Somerset to watch it. “I was a fucking star!”

Though he hasn’t been back to the locations where they filmed, Sean sometimes feels drawn to visit them. His involvement with “Arthur of the Britons” was a very intense experience, and his attachment to it is deep set. He asked me what I thought of the series when I saw it again on DVD after nearly 40 years; I said it was better than I remembered, and he agreed. The series has stood up well.

He wanted to take up acting as a career, until his first professional auditions, which were so ugly and intimidating, he wondered why anyone would ever put themselves through the process. He probably should have gone to drama school, but his parents didn’t believe in it. He flirted with the idea of becoming and engineer, but decided it would be too dull, so he studied Philosophy at University, where he also did 22 plays, and had his own punk band, The Ripchords.

[The Ripchords' sole release was an eponymous EP with four tracks, “Ringing in the Streets”, “Music is...”, “Peace artist”, and “Television television”, was championed by John Peel, and quickly sold out. "Punk 77" described their music as “Tuneful punk with sepulchral vocals and deep growling bass”, and "My Life's a Jigsaw" as “Great garage/DIY punk.” Sean Dromgoole was the vocalist.]

When Sean finished his studies, he spent a number of years behind the camera, working for his father as an Assistant Director.

Pat Feather wrote in response to a request posted on behalf of this archive in the Chew Valley Gazette.

Some of the children from her school performed as extras in "Arthur of the Britons." Children featured prominently in "The Wood People" and "The Treaty." Given that Pat recalls seeing Arthur riding his white horse, and Arthur did very little riding in "The Wood People", the episode in which her class appeared was probably "The Treaty."

At the time, I was a teacher at the village school at Compton Dando, near Woollard, (a very small school, now defunct) but with delightful children who entered into becoming ‘extras’ with what can only be called ‘over enthusiasm.’ I took about 10 children daily for, I think, a week or so, and well dirtied with mud, they ‘acted’ in the well-constructed village, by the river Chew. We also enjoyed the use of the canteen van.

It was useful to me, as a teacher, as much local and ancient history was woven into the experience – we made a little village using local materials, and much was done in writing experience. I am too old to remember much more, but it was a jolly good exercise for the children – and they were so absorbed in the actual filming. Our little school received some reward (can’t remember how much!) from the film unit, greatly appreciated.

I can also recall seeing that lovely white charger galloping up and down a field in Compton Dando, with a ‘knight’ on board – super!

One of Pat Feather's pupils, Nigel, also offered some recollections.

Gerry Cullen, an American, already working in TV production, who took the opportunity to work as an extra on "Arthur of the Britons", offered these insights to the filming of the series.

By a series of total coincidences, I was running low on money in Bristol when I heard that Harlech TV was having open casting sessions, to find extras for "Arthur of the Britons." I was hired, and worked until the end of the series. I remember often being there six days a week.

Extras were only used when they need villagers to “fill in” of course, but I was very lucky; I seemed to get most work, probably because I looked the most scruffy. Each morning I would ask the make-up lady to put more of the dirt makeup on me because it was obvious that this series wanted a more authentic look for that time period. So, I got many days of work in the morning calls while many of the other male extras got less work because they came in with nice hairdos.

I always thought the Brits were the best filmmakers. Having already worked in TV in production in New York and had a degree in film-making this was a great gift to watch and learn from them.

When I came in, I was told they were making some changes (I don’t know what they were) and the series was half done. When I watched the DVDs, I saw that I was in some of “Season Two” and not in any of “Season One.”



In this scene from "Rowena", Gerry is the person in the middle, standing next to Arthur.

For me, it was paid graduate school. The demanding schedule called for rotating directors, so I was able to observe their different styles and methods, and how they interacted with the actors. Most of the talk that I had access to was about blocking, director/DP discussions on camera placement, and lighting. I also got to see some of the very good character actors who bolstered the roster. That experience gave me solid confidence throughout my modest career as a camera production person.

The set was always very calm and orderly; very professional. It seemed to me that they were trying to keep to filming one episode per week, so there was a lot of pressure to hit the short deadlines for a quick turn-around; the actors and crew had a lot to do to make a half hour weekly action show. We worked long days; the extras would meet early, often about dawn, or before, at HTV Bristol, and usually come back late in the day, sometimes in the dark. The filming was extremely well organized and all the crew and actors created a friendly, but always moving forward, atmosphere.

Shooting wasn’t always in sequence; there was definitely some overlap between one episode and another. I remember hearing sometimes that a B crew was shooting cutaways and other footage at different locations, to help keep things moving.

Since it was all 16 mm film back then, all the good takes would have to be developed, and the dailies would have to be looked over. Film editing was very time consuming back then; the editor was dealing with many, many, short clips of film that would need to be physically spliced together, then the music mixed in the audio department, and titles added in the lab. I would guess a month at least from shoot week to air. If I remember rightly, it was airing during production, but I didn’t have a TV, and I only saw one broadcast episode while I was there.

Back then it was a big deal to have Arthur in the more primitive environment, rather than the glossy concept of shining armour and big gleaming castles and such.

I remember two main buildings, and some smaller ones to make the village for the Celts. The make-up area was in a tent; wardrobe was in there too. The Celts main building was often converted back and forth between sleeping quarters and also used for inside banquets. The series won some awards for the location set designs and costumes. The food was real, but no alcohol; the wine was grape juice. As I recall the boars were real but don't remember anyone eating them. I was a strict vegetarian for the about 5 years back then so I didn't pay to much attention to them even though I sat right near them in some scenes!

Speaking of the dining tent, the food was great but what I found intriguing was the afternoon tea break, where everyone had banana sandwiches; I had never heard of such a thing but they were very good.

With regard to stunts – from what I observed it was always Oliver and Michael doing everything; I don't recall any stuntmen standing in for either of them. When there was a group of riders I believe some of those were stuntmen. Oliver and Michael always did their own riding, and they both were very good at it.

Extras would get an additional £2 per day if they were involved in any stunts, or got pummelled. They probably don’t allow that today – too many lawyers – but it was fun then. In one episode, “The Marriage Feast”, a scene called for Mark of Cornwall (Brian Blessed) to storm off, mad because Arthur had just embarrassed him. It must have been my turn that day, as the director picked me to be thrown over Brian Blessed’s shoulder as he rampaged through the village, knocking people out of his way. We did at least 5 takes where Blessed literally threw me over his shoulder and into the air; he was a strong guy. Lucky for me, I studied jiu-jitsu in high school, so I knew how to land in hard falls, but it was still somewhat rough. I was disappointed when I watched the DVD; the take they used was the only one where he did not do that; instead, they used the one take where he just throws me down.



I was involved in inside banquet scenes in two different shows. One was “The Marriage Feast”; I am sitting next to Brian Blessed, on his right. You can only see me in a quick wide shot at 14:45, and some back and forth over the shoulder shots in that scene, one is at 16:15.



In the other, I sit next to Arthur in a scene where Arthur and an opposing group, I cannot remember which one, decided to make a treaty and be peaceful with each other, so they hold a feast to celebrate.¹

While Arthur and the leaders of the opposing group are inside at the banquet, some of the villagers from both sides have a knife throwing contest at a target. There is an accidental death when a knife misses the target and kills one of the villagers, and things get tense. A messenger rushes into the banquet to tell everyone, and things get tense. I remember that one well. It was shot of course out of sequence. In the filming of it, first the outdoor scene was shot, in that shot I am standing near the target when the man next to me gets killed by the stray knife. Later the banquet scene is shot and the messenger comes in and tells Arthur what happened, when he does everyone gets tense and I was told by the director to slowly start pulling out my knife as if a fight was about to happen. Normally I wouldn’t say anything to the director but I thought I better tell him I was in the previous outside shot and he might have a continuity problem if I was noticeable. But he wasn’t worried so he probably had plenty of coverage. ²

At an outside feast in “Rowena” at 19:48 I am sitting down in front of the table and throw wine at a villager, who falls down.



In "Some Saxon Women" I am in quite a few shots but more interestingly there are good shots of the young woman that Michael Gothard was seeing. She is most easily seen in the scene starting at 7:00 where the two men look over the Saxon women who are chained up. In the shot where the two men stop and shake hands “to make the deal” was Michael’s girlfriend; she was German, and had a young child.



On set, Oliver was always the quietest of the three main actors, and was always very courteous to everyone. He was the youngest, and – as the lead – he had the biggest responsibility. While waiting, he seemed to keep it very serious. He was perfect for the role of Arthur, and he did a great job, even though he was not that experienced.

Jack Watson was the most laid back. Having previously worked on TV productions in New York, I already knew never to bother the actors; always wait until spoken to, and stay on business unless someone else brings up a topic, because they need their space to think about their lines, and get into the character, but while waiting for his part, Jack would often stand on the side among the extras, chatting amiably. He usually had fewer lines to deliver than the others, so I would think that made it easier to be relaxed, plus he had the most experience.

The most serious I ever saw him was on the occasion when, in a nice manner, he scolded me. It was very cold on some of the early mornings, so I had gone to a second-hand shop and bought the warmest overcoat I could find: a long dark blue wool coat, that only cost three pounds.

While we were watching a scene being prepared, Jack, who was standing next to me, said, “Are you a medic?” I answered, “No. What makes you think I would be?”

He explained that I was wearing a Navy medic’s coat; it still had the patch on it.

I told him I didn’t know what it meant, I just bought it because I was trying to keep warm.

He wasn’t mad or anything; he was just very worried that if there was an emergency, it would cause confusion. I couldn’t imagine anyone would think I was a medic, since – other than the coat – my clothes were those of an impoverished medieval Celt, but I realized later that he was a WW2 Navy man, so I could understand his concern.

Michael Gothard was probably the most physical actor. Even standing still, the man seemed to be moving. I noticed that whenever he was in a scene that was being shot, the energy on the set went up; I think he was the sort of actor who made everyone rise up without their even realizing it. Somehow, Michael began talking with me, and found out I had just been travelling about Europe, much as he did some years earlier. During that period, we hit the pubs a few times.

Whoever cast this series really knew what they were doing. The contrast between Oliver and Michael made for good interplay between the two. Oliver was sturdy, emanated inner strength, and kept his cards close, while Michael was lanky, had his energy “out there”, and was often edgy.

It was my impression that the three lead actors liked each other very much.

It is amazing how popular and long-lasting Arthur of the Britons has been. Many of the Brits and Aussies that I have known here in the US remember the show very fondly and vividly. It is an incredible testament to everyone involved.

¹ “The Treaty.”

² This indoor scene, where a messenger comes in to tell the assembled chiefs about the death, does not appear in the episode as shown on TV; the footage must have been discarded.

This call sheet was kindly donated to this archive by Barbara Hatherall, who was an extra on the series. The episode concerned is “The Penitent Invader.”



“The Penitent Invader” was episode ‘G’ - the seventh episode to be filmed.

The call sheet is No.36, and is dated 10 August 1972, which was a Thursday, so this would have been the fourth day of filming.

Filming took place at Woollard, and it was an early start at 6:30 for the Make-up/Wardrobe department, and extras, who were preparing for the two main battle scenes which were to be filmed starting at 7:30, while the main actors were in make-up.

For the first scenes to be filmed, between Arthur’s Celts and the Picts, there were 13 Picts, 20 Celts – as well as two stuntmen dressed as Celts - and 20 dead Picts. Herward’s three companions during his dramatic intervention were also stuntmen. Presumably the stuntmen were the “two bodies in river” listed amongst the props.

Also listed along with weapons and shields, and underlined, as if they were of high importance, are towels – presumably to dry off the extras or stuntmen who had been in the river – and brandy, which the wisdom of the time said would warm them up afterwards!

Though there is no obviously female rider among them, “Maria” is mentioned as a member of Arthur’s Cavalry. This is thought to refer to Maria Tolwinska, the niece of Ben Ford, who supplied the horses.¹

Oliver Tobias, who had moved, since 4 August, from Ben Ford’s to a closer lodging, St Mary’s House, Wrington, was brought by taxi, to join Michael Graham-Cox in Make-up/Wardrobe at 7:15, with Jack Watson arriving at 7:30, to be ready to film their parts in the battle. Clive Revill was collected from the Unicorn Hotel ² at 07:00

Altogether, the earlier scenes were 1 to 6e.

Jack Watson only took half an hour in make-up, as did Michael Gothard, but it took 45 minutes to make up Oliver Tobias and Michael Graham-Cox; Hedley Goodall, who played the abbot, took an hour and a half.

To simulate Arthur’s knife wound, artists from the Animation department, a chest-pad, blood and a knife were needed.

Michael Gothard, who was not needed in Wardrobe/Make-up until 10:30, was allowed a lie-in.

For scenes 41 and 42, filmed at 11:00 – the fight between Rolf and the Picts, and the arrival of Arthur and his men upon the scene – a total of 16 horses were required.

At 2 pm, scene 43, where the abbot goes about the battlefield, blessing the dead, was scheduled to be filmed, as well 40a, which was a shot of Llud talking to himself as he watches Rolf and his men ride out. Filming schedules and scripts supplied by Peter Thornton show that the scene with the abbot was not in the original version.

Food for morning, lunch and afternoon breaks for the cast and crew –110 people - was laid on, by George Cook (or Cooke) on location.

¹ See this article from the Western Daily Press, 11 September 1972: "Back to school for King Arthur’s knights"

² Possibly The Unicorn Hotel, West Street, Somerton TA11 7PR England – this would have been about an hour away by car.

In, in response to a request in the Chew Valley Gazette, Mrs Barbara Hatherall offered these memories.

Barbara Hatherall knew the Maxwell family who owned Woodborough Mill Farm, where much of "Arthur of the Britons" was filmed. The "Giant’s Dam" - seen in the episode, "In Common Cause" - is the weir at Woodborough Mill Farm, where they used to play when they were kids.

Barbara’s son Robert helped his uncle to build the village on a field near the River Chew, dragging logs and such like from the nearby woods to make the buildings, etc.

In the summer of 1972, Barbara would go up to the shooting location nearly every day, for one thing or another. She appeared as an extra on many occasions, and they all thought the pay they got as extras was brilliant.

The family had a caravan in their back garden and the production rented it from them for the summer, for one of the crew who had to be there early. It came back spotless.

She had a shop that sold odds and ends in her front room. The cast and crew would come in to buy chocolate, etc. Patrick Dromgoole, the Executive Producer who also directed five episodes, used to come in and sit in her chair, and put his cup of tea on the arm (there was a little wooden stand to put things on) and say what a nice chair it was. She got it for £12!

He’d ask her to recommend people who lived in the area for particular parts. At one time, he wanted a man of a certain age. She said, "Well, my husband’s free that day," so Patrick had a look at a picture, and cast Barbara and her husband as the jeweller and his wife in "The Penitent Invader."

Well, her husband went into the make-up caravan, and when he came out she didn’t recognise him! They put him in a wig and a beard, and – later on, after he was supposed to have been robbed by Rolf – Patrick gave them some dirty old rags to bandage his head. Patrick kept screaming at her because she was laughing so much at silly things her husband was saying to her while they were trying to film.

In the scene where Rolf had attacked a young girl on the river bank, Patrick was telling the victim to spread her legs out, and look like she’s been raped, but she said "I can’t, there’s all stinging nettles there!"

Barbara was also in a banquet scene as a serving wench, and they had to do the scene over and over, because she had to take a tray of food to where Oliver Tobias was sitting, and he would stab a dagger into the table, making her jump back.

In the scene in "The Penitent Invader", where Clive Revill, as Rolf, has to walk across hot coals as penance, he was supposed to put his feet in gaps which had been left between the coals, but ended up actually walking on hot coals because he kept missing the gaps. And he had to do it again, because Patrick shouted out "someone’s got a watch on!" and that was Barbara, with a watch under her hessian dress!



Barbara’s daughter also appeared in a scene,¹ walking across a bridge.

One day, Patrick Dromgoole had asked the agency to send a lot of dark (meaning "dark-haired") extras, but when the transport turned up, it was full of black people! They couldn’t be used for filming, but they got a free meal at the canteen.

The production really brought the village to life, with all the horses coming in, in big wagons, and all the cast and crew. There were a lot of people involved. It was good fun, and the actors would all chat to you. Barbara couldn’t remember anyone being stand-offish – everyone mucked in and worked together.

¹ Possibly in “The Gift of Life.”